Art Theft Is On The Rise … Maybe

Art TheftThe Art Newspaper reports that art thefts are on the rise across North America. Over the past decade, the paper says, international art theft has risen in value from $3 to $6 billion dollars. More on that number in a bit.

My position holds that art theft is actually rare. Opportunities are far more abundant than occurrences of theft. In the US, every twenty-four seconds a car is stolen despite locks, alarms, garages and other security measures. This is because thieves can convert cars into cash. They are stripped for parts which are resold on secondary markets.

Art security is notoriously lax. Valuable items hang on publicly accessible walls. Mark Lugo, an exception rather than the rule, simply pulled works from hotel and gallery walls. But Lugo didn’t try to profit from his ill-gotten gains. He was building a private collection. Since he didn’t steal for profit, Lugo didn’t face a deterrent that stops other thieves. It’s hard to profit from stolen art.

Toyota, GM and Volkswagen each sell over seven million cars a year. That makes it difficult to locate an individual vehicle. And if you consider that vehicle has value even when its chopped into pieces, then you understand why car theft is prevalent - it’s practitioners feel they can make money.

In the art world, great value is contained in fewer items. Print runs might number from a few dozen to a couple hundred. Paintings are literally one-of-a-kind items. It is difficult to move stolen merchandise without attracting attention from police and theft victims. As the Art Newspaper notes, the LAPD’s two man art theft department was able recover more stolen merchandise than any of the twenty-one other departments.

Now about that six billion dollar theft number. The FBI includes fakes and forgeries in the crime of art theft. Given that context I can believe that “theft” is on the rise. Art forgery is as old as the art market. Online auctions are crawling with fakes and this market has greatly expanded over the last decade. The Art Newspaper should have more correctly said, “Art crimes rise across North America.”

 

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On Grosz and Dates

Poet Max Herrmann-Neisse

George Grosz was an German Expressionist working in Berlin when the Nazis came to power. If his style was an affront to Nazi aesthetics, his politics were more offensive. Soon after the Spartacus uprising in 1919, Grosz joined the Communist Party of Germany. In 1933 as it became clear the winds were shifting to the Nazis’ backs, Grosz fled Germany for the United States.

Grosz left several important works behind with his Berlin dealer. Now his heirs hope to recover those pieces from their current owners, the Museum of Modern Art. As the New York Times reports today, the entire case may hinge on filing dates. The MoMA has already won several cases because the heirs filed too late to be considered under New York law.

As noted in the article, the United States has signed several international agreements in which the signatories agreed to decide these types of cases based on merit rather than technical issues such as late signings. These agreements have no legal binding and they’ve ignored them in previous cases.

I would prefer to see these works in the hands of their rightful owners. In this case, that’s probably the heirs of George Grosz. But given the current Supreme Court’s reluctance to encroach on state matters, it seems very unlikely it will hear the case. The previous decisions will stand and the Grosz works will remain in the MoMA.

UPDATE: On October 3, 2011 the Supreme Court denied the heir’s petition for certiorari.

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Is Trickle-Down Economics Good For Art?

Trickle-down economicsIf the CEO drops a fifty in the parking lot as he pulls the keys to his S-class from his pocket and if you can manage to snag it while nobody’s looking, that’s trickle-down economics.  This economic model is hotly debated among political partisans but the question before this blog is this: Is trickle-down economics good for art? Ben Davis doesn’t think so.

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Virginia Lunatic Strikes Again!

Susan Burns, the lunatic who attacked post-impressionismSusan Burns of Virginia seems to be a harsh critic of post-impressionism. In April she attacked Gauguin’s “Two Tahitian Women.” She screamed “This is evil!” and she tried to pull the painting from the gallery wall.

As she was pounding the painting with her fists, a social worker from the Bronx tackled her. Police arrived and Burns was immediately arrested. There was no apparent damage to the painting but we can’t help but wonder if the social worker got a try-out with the Jets.

At the time, common wisdom held that she took issue with the painting’s nudity. Afterall, she screamed “He has nudity and is bad for the children!” In the painting, both women bare naked breasts and offer fresh fruit to the viewer. That might be a little more than a Bible Belt denizen can handle.

Well, Susan Burns is back again. On August 5th, she returned to the national gallery and attacked Henri Matisse. She walked over to “The Plumed Hat” and slammed it repetitively against the wall. According to the Smoking Gun, she damaged the original 1919 frame.

The Plumed Hat contains no nudity. There’s no need to shield it from children since it contains no breasts. It certainly seems like she hates post-impressionism. Or perhaps a responding police officer hit the nail on the head. “Maybe she just hates art,” he said.

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The Incarceration of Ai Weiwei

Ai Weiwei is kind of visionary most countries would be proud to count among their artistic classes. His creativity has helped pull the international spotlight toward contemporary Chinese culture. His persistence has drawn attention to the plight of underclasses and the abuses of political power. And he has helped form an iconic image of contemporary China with his design for the Olympic stadium.

Instead of celebrating an extraordinary career, China placed him in jail.

This spring, Ai participated in an online campaign for a Chinese style “Arab Spring.” In April, a huge contingent of police cordoned his studio. They entered and searched the premises. Officers left with laptops and hard drives. Ai was detained along with eight studio workers, his wife and his son. The official line was that Ai was arrested on economic crimes. A day after that announcement, police returned to his studio in search of evidence to support the charge.

He was detained for three months against a backdrop of international outrage.

Now new details emerge of Ai Weiwei’s detention. According to a New York Times report, Ai was held in a tiny room and watched 24 hours a day by shifts of two military guards who never left his side. The guards were never more than 30 inches away — even as he slept, shit, showered and shaved.  Ai described this type of scrutiny as “mental torture.” And “it worked,” he said.

Mr. Ai’s associate, who insisted on anonymity because of the risk of official retaliation, said that from the very beginning of his detention the police made it clear that it would be a difficult experience. “He told me that when he was taken from the airport, the police told him: ‘You always give us trouble, now it’s time for us to give you trouble’,” the associate said.

Arrests for tax evasion are rare in China. Ai Weiwei’s “crime” was an appeal for democratic reform. As long as China continues to use incarceration for rebuttal it does not deserve the kind of prominence that Ai’s career helped bestow upon it.

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Who Vandalised The Poussin Paintings?

I’ve noticed that many of you are wondering who vandalized two Poussin paintings at the National Gallery. Unfortunately, not much is known at this time.

From an eye-witness account, we’re led to believe he is of French origins. After spraying the Poussins, he was heard muttering in French. Steven Dear told the Guardian, “He seemed proud of what he had done, giving a verbal protest – some kind of explanation in French as to why he had done it – and then just standing there waiting to be arrested.”

From the West End Extra, we learn that he’s a fifty-seven year old resident of Westminster. After the arrest, he was detained and charged with “criminal damage.” The maximum sentence for this crime is ten years. There is a special section of criminal damage for ‘heritage items’ but it strangely does not include paintings.

The last we’ve heard of the Poussin vandal, he was before the Westminster Magistrates Court. As a result of that appearance, he was detained in a mental health unit. So he’s either a French-speaking, elderly man, with a taste for conceptual art or bat shit crazy. Perhaps a little of both….

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Who Stole The Mona Lisa?

The Mona LisaAugust 21 marks the 100th anniversary of the theft of the Mona Lisa. Security was so lax its disappearance was noted a day later when it became apparent that it wasn’t in the hands of a scholar or a photographer.

When the museum opened a week after the theft, a large line of guests queued to see the empty space where the master work was once located. The thin beguiling smile was replaced by four hooks and a square of unfaded paint. It was the century’s first exhibition of conceptual art.

Opportunities for art theft are far greater than occurrences of art theft. If it’s difficult to profit from obscure stolen art, then imagine the daunting task of selling the world’s most famous painting. The thief was able to remove the work undetected. His downfall occurred when he tried to sell it.

As the anniversary nears, there are several great books and articles to mark the event. I encourage you to read at least one article about the theft. It’s a fascinating story and it helps explain how the Mona Lisa was transformed from a 15th Century masterwork to the star of the Louvre.  One hundred years later, long lines still form for a brief gaze at the lady from Florence.

[FT: Who Stole The Mona Lisa] [Gaurdian: The Man Who Stole The Mona Lisa]

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No City Funds For The Ohr-O’Keefe Museum of Art

The Ohr-O’Keefe Museum of Art is in its death throes. After one year of operation, the museum doesn’t have enough revenue to cover its operating expenses. As I mentioned earlier, the trustees hope to get some assistance from the Biloxi city government. Good luck with that.

According to WAPT in Jackson, Mayor A.J. Holloway made it clear that no public money will be used to support the Ohr. The museum has not yet approached the city but the mayor made his intention clear at his annual “Breakfast with the Mayor.”

The museum has already cut its insurance of irreplaceable objects to a minimum. It has great difficulty keeping humidity below 30 percent in a climate where it commonly hits 90. Its electric bill is about eight thousand dollars a month. These are pressing issues but it’s biggest problem is indifference. Its display rooms are generally empty.

The building and its displays have received acclaim from critics and indifference from locals. It was a fitting tribute to a great American artist. The Ohr may still survive but its not at its current location and not with its current splendor. A beach in Mississippi, in a town determined to build casinos and attract gamblers, was never an ideal location. I expect Ohr-O’Keefe II to be more akin to a janitor’s closet down the hall from the mayor’s office. If Mississippi doesn’t appreciate its collection, I’m sure they’ll attract visitors in a wing of a Northeastern metropolitan museum.

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George Caleb Bingham In The Governor’s Mansion

George Caleb Bingham was a self-taught American master. He was a proliftic portraitist and genre painter. Born in Virginia, he moved to Missouri where he developed the style that would help make him famous. Bingham sought to capture the effect of light on the motif. His strokes were delicate but unlike the Impressionists who would shortly follow, he took pains to conceal his brush strokes.

While he worked his brushes with care, Bingham was careless when it came to records and personal attribution. Scores  of his works were unsigned, more than any other American master. Even though the artist has been dead for more than one hundred years,  his catalogue raisonné must feel like a moving target.

Last year alone, the editors added another ten works to the catalogue. This year, they’ve found another.

A painting presented to the Virginia’s Governor’s mansion in 1977 was attributed to Bingham  and authenticated by the George Caleb Bingham Catalogue Raisonne Supplement of Paintings & Drawings. The painting is commonly referred to as “Portrait of A Boy and His Dog.” It depicts Colin Dunlop, a man who was born in Petersburg in 1836 and was killed in battle during the Civil War in 1864.

Read more:

[Live Auctioneers] [Washington Post]

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Everyone’s A Critic, Even Computers

Art criticism appears to be a discipline best reserved for humans. After all, who better knows what appeals to humans than humans? On the surface it would seem like a task that we could never automate.

From the Economist we learn of Lior Shamir, a computer scientist from Lawrence Technological University in Michigan. Mr Shamir recently published an article (pdf) in which he suggests computers may have as good an eye for style as humans.

Dr Shamir’s team scanned fifty-seven works by nine artists into a program which assessed descriptors based on Fisher scores and the most informative features were used to classify the paintings by artist, similarities and schools of art. The program was able to identify the artist with 77% accuracy and it correctly identified the school of art 91% of the time.

To look for comparisons between artists, the team programmed a statistical method that scores the values of descriptors between artists. As a result, the computer was able to see similarities that have escaped humans:

Surprisingly, the values of 19 of the 20 most informative descriptors showed dramatically higher similarities between Van Gogh (left above) and Pollock (right) than between Van Gogh and painters such as Monet and Renoir, who conventional art criticism would think more closely related to Van Gogh’s oeuvre than Pollock’s is. (Dalí and Ernst, by contrast, were farther apart then expected.)

Whether Pollock was actually influenced by van Gogh or stumbled upon those similarities by chance remains to be seen. As the Economist notes, it provides art historians a new line to explore.

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